Village Voice's Scores

For 10,046 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Cartel Land
Lowest review score: 0 Welcome to the Jungle
Score distribution:
10046 movie reviews
  1. Ivey hits the turf pitching and catching dialogue like a pro, but nothing could have saved What Alice Found from a fundamental cinematic illiteracy.
  2. Much has changed in the two decades since the release of Joel Schumacher's Falling Down, but, as The Angriest Man in Brooklyn flatly reminds us, the grievances of America's petulant middle-class men apparently have not.
    • 65 Metascore
    • 30 Critic Score
    A cameo from an old-school X-Man only serves to remind how stylish and witty the first installment was a decade ago. Lacking a single memorable joke or striking image, First Class is as perfunctory and passionless as would-be franchise resurrections get.
  3. Achieves inadvertent pathos via its own obscene irrelevance.
  4. Me You Them can't find a rhythm or a consistent tone.
  5. Lifeless bromantic comedy Flock of Dudes has all the celebrity cameos and latent sexism of Judd Apatow's adult coming-of-age stories but none of the lowbrow wit and sensitivity.
  6. Despite exposition delivered so redundantly and witlessly you think you're in a Kaplan class, Stigmata manages to be incoherent.
  7. The movie's idiotic fascination with the senselessness of its central act is scarily close to a fetish.
  8. Mesmerizingly bad filmmaking.
  9. The Human Scale lacks both the punch needed to appeal to the layperson and the deep wonkiness to gain the attention of true geeks of the built environment.
  10. Throughout the film, Mindless Behavior's four interchangeable members only project youthful enthusiasm and PR-friendly love for their fans.
  11. Pola Rapaport's slender documentary-cum-reconstruction Writer of O disappoints in its workmanlike approach to such fragrant material.
  12. Throughout, Tykwer reaches for mysteries he has no idea how to evoke, relying instead on his actors' empty stares.
    • 37 Metascore
    • 30 Reviewed by
      Ed Park
    CCM's dissipated endgame borrows soggily from "The Ring," resulting in something that wouldn't make it past the first script meeting for Scary Movie 4.
  13. The script is often ludicrous (gratuitous digs at feminism; muddled commentary on war and the military), the sets look like sets, and the acting-aside from Helsham and Plunkett-doesn't even rise to the level of student films.
  14. The film's intentions are way too good for its own good, producing bloodless romance and more shamefully bloodless carnage.
  15. By far the highest concentration of actual humor comes during the blooper reel over the end credits; free of the script’s saccharine constraints, the performers immediately demonstrate their chops.
  16. Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
  17. The tears and recriminations, eruptions and reconciliations hold a begrudging fascination for about an hour.... After that, though, the volume is never turned down and these characters are never less than the most unendurable company.
  18. 85 percent explosions and editing idiocy (a window can't break without director Peter Hyams cutting between five different angles) and 15 percent Arnold trying to grow a third dimension. Seeing him try for "sad" is like watching a dog try to talk.
    • 38 Metascore
    • 30 Critic Score
    The script, and the actors' breezy performances, work inasmuch as they get us to the chase on time.
  19. No one can accuse Garfield: The Movie of infidelity to its source: It faithfully conveys the banality of Jim Davis's cartoon.
  20. It's all very predictable, very Hollywood. Storytelling cliché, it would seem, knows no borders.
    • 48 Metascore
    • 30 Critic Score
    This is laughably absurd, but unlike the first "Saw," the third installment gives no indication that its humor is intentional.
  21. The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
  22. Alongside electricity and clean drinking water, one of the casualties of Go North's Armageddon was artistic inspiration.
  23. Essentially a reheating of 1982's "First Blood" -- a psychologically wounded warrior-vet pits himself against civilized America -- but the fallout this time is simultaneously more ruthless, less emotional, and duller.
  24. No amount of fidgety editing and anxious soundtrack atonality can distract from the creakingly implausible scenario (Marsden's Dan is an almost comic exemplar of uncharacteristic hostage behavior).
  25. Neither as lively nor as tough as the original, and compared to the hardcore punk of "Border Radio," the score for Sugar Town sounds like Muzak.
  26. Between the generic shadowy cinematography and a gothic score that manages to telegraph even the film's jump-scares, there's no tangible tension by which to build an effective climax.

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